Archisable 2
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L’acte de construire le plus simple est sûrement de poser deux pierres l’une sur l’autre, ou, pour l’arpenteur des bords de mer, de faire des châteaux de sable. C’est à un retour vers cette joie pure et ces gestes instinctifs de bâtisseur d’éphémère que Tina Bloch, commissaire d’exposition, a convié 34 architectes ou duo d’architectes européens. Sur les plages de(...)
Archisable 2
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L’acte de construire le plus simple est sûrement de poser deux pierres l’une sur l’autre, ou, pour l’arpenteur des bords de mer, de faire des châteaux de sable. C’est à un retour vers cette joie pure et ces gestes instinctifs de bâtisseur d’éphémère que Tina Bloch, commissaire d’exposition, a convié 34 architectes ou duo d’architectes européens. Sur les plages de Deauville et de Benerville, d’étonnants monuments se sont élevés entre ciel et mer, des mandalas et des labyrinthes à perte de vue ont connu une existence fugace mais intense. À la fois land art et sand painting, les propositions, mûrement élaborées ou improvisées selon l’inspiration de l’instant, sont d’une étonnante diversité. Creuser, édifier, sculpter, mouler, scarifier, ratisser, dessiner, modeler… le sable se prête à toutes les inventions poétiques.Entre deux marées, le photographe Michel Denancé a capturé leur éphémère beauté, mêlant les perspectives à hauteur d’œil et les vues aériennes pour un résultat d’une grande force esthétique.
Land Art
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This book offers a glimpse beyond the garden walls of some of today's most innovative art spaces around the world-sculpture parks and art situated in nature. From Edward James's surreal sculpture garden Las Pozas in Mexico to Anselm Kiefer's sprawling studio complex in the French countryside, artists and art collectors are creating outdoor spaces in order to display(...)
Outdoor art : extraordinary sculpture parks and art in nature
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This book offers a glimpse beyond the garden walls of some of today's most innovative art spaces around the world-sculpture parks and art situated in nature. From Edward James's surreal sculpture garden Las Pozas in Mexico to Anselm Kiefer's sprawling studio complex in the French countryside, artists and art collectors are creating outdoor spaces in order to display sculpture and art that is both transformative and powerful.
Land Art
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
novembre 2002, Cambridge, Mass.
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
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Les Carnets du paysage présentent un dossier autour de la question de l’art écologique, plus précisément de la manière dont certains artistes contemporains en Amérique du Nord ont développé leur travail autour et à partir de la question de la nature et de sa préservation. Les artistes dont on présente le travail dans ce numéro travaillent avec des matériaux naturels,(...)
Bord à bord : Art écologique & art environmental
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Les Carnets du paysage présentent un dossier autour de la question de l’art écologique, plus précisément de la manière dont certains artistes contemporains en Amérique du Nord ont développé leur travail autour et à partir de la question de la nature et de sa préservation. Les artistes dont on présente le travail dans ce numéro travaillent avec des matériaux naturels, comme la terre, les roches, le bois, l’eau. Disposant parfois de vastes espaces, ils essaient d’en explorer les possibilités en prenant la terre elle-même comme élément et comme surface d’inscription. Ce numéro rassemble des analyses et des textes d’artistes, d’intellectuels et d’écrivains qui ont en commun de réfléchir à et d’agir sur ce que nous pouvons appeler notre environnement, notre œkoumène, bref la Terre, que nous ne savons peut-être plus vraiment habiter. Tout n’est pas paysage, mais le paysage est concerné par des questions qui touchent à la nature, à l’espace, à la représentation, à l’écologie, aux usages des éléments et des matières, à la poétique des formes. C’est cette dimension de l’identité du paysage que les Carnets tentent d’explorer dans ce numéro.
Land Art
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"Tout artiste qui travaille dans la nature n'est pas un land-artist et ne s'intéresse pas nécessairement au paysage" (G. Tiberghien). Après le Land Art des années soixante, de nombreuses pratiques plastiques - nées de recherche en relation avec la nature - voient le jour : ce sont des oeuvres géoplastiques. L'hétérogénéité de ces oeuvres et expérimentations est immense.(...)
Le land art et après : l'émergence d'oeuvres géoplastiques
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"Tout artiste qui travaille dans la nature n'est pas un land-artist et ne s'intéresse pas nécessairement au paysage" (G. Tiberghien). Après le Land Art des années soixante, de nombreuses pratiques plastiques - nées de recherche en relation avec la nature - voient le jour : ce sont des oeuvres géoplastiques. L'hétérogénéité de ces oeuvres et expérimentations est immense. Ce livre donne des repères pour les identifier et propose des exemples aussi variés que possible pour tenter de mesurer l'étendue de leur diversité.
Land Art
The ethics of earth art
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Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. In this(...)
The ethics of earth art
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Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. In this book, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. Boetzkes contends that in basing their works’ relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work—film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows—earth artists articulate the dilemma of representation that nature presents. Revealing the fundamental difference between the human world and the earth, Boetzkes shows that earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.
Land Art
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The top entries from the 2014 Land Art Generator Initiative competition are profiled in this volume that brings together innovative work from architects, scientists, landscape architects, artists, and engineers engaged in the innovation of art and clean energy. Founded in 2009, the Land Art Generator Initiative, or LAGI, was created to encourage the design and(...)
New energies: land art generator initiative, Copenhagen
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The top entries from the 2014 Land Art Generator Initiative competition are profiled in this volume that brings together innovative work from architects, scientists, landscape architects, artists, and engineers engaged in the innovation of art and clean energy. Founded in 2009, the Land Art Generator Initiative, or LAGI, was created to encourage the design and construction of public art installations that have the added benefit of utility scale clean energy generation. The biennial competition, which receives submissions from around the world, is this year being held in Copenhagen, Denmark--a city that is moving towards carbon neutral status by 2025.
Land Art
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Christo and Jeanne-Claude are renowned for their dramatic and innovative public projects. Their installations often feature fabric, sometimes wrapped around existing structures or used to create large-scale temporary environments. Some of their most influential projects include Running Fence in Sonoma and Marin Counties, California, Surrounded Islands in Miami, the Pont(...)
Christo & Jeanne-Claude : on the way to The Gates, Central Park, New York City
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Christo and Jeanne-Claude are renowned for their dramatic and innovative public projects. Their installations often feature fabric, sometimes wrapped around existing structures or used to create large-scale temporary environments. Some of their most influential projects include Running Fence in Sonoma and Marin Counties, California, Surrounded Islands in Miami, the Pont Neuf Wrapped in Paris, the Wrapped Reichstag in Berlin, and The Umbrellas simultaneously in Japan and California. Now New York City, where they have lived and worked for forty years, will be the site for a much-anticipated Christo and Jeanne-Claude project. The Gates will consist of saffron-coloured fabric panels suspended from the horizontal tops of over 7,500 sixteen-foot-tall vinyl gates, positioned at regular intervals throughout 23 miles of walkways of Central Park. The installation will be on view for sixteen days, beginning February 12, 2005 (weather permitting). This book, published in conjunction with a major exhibition that opens in April 2004 at The Metropolitan Museum of Art, celebrates the culmination of the artists' vision for The Gates, a project that began in 1979. It includes an illustrated introduction by Jonathan Fineberg that surveys the career of Christo and Jeanne-Claude and assesses their contribution to contemporary art and culture.
Land Art
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"Robert Smithson and the American Landscape" is a social history of the artist’s earthworks and their critical reception. Providing a close analysis of Smithson’s own writings and art works, Ron Graziani demonstrates how his earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Smithson’s humanized environments were a powerful indictment of(...)
Robert Smithson and the American landscape
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"Robert Smithson and the American Landscape" is a social history of the artist’s earthworks and their critical reception. Providing a close analysis of Smithson’s own writings and art works, Ron Graziani demonstrates how his earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Smithson’s humanized environments were a powerful indictment of modernist sense of art and nature. Moreover, Graziani shows how Smithson’s earthworks formed part of what was called the ‘new conservationism’ in the late 1960s and how they gave material form to the contradictions of a sociological issue that was inseparable from its economic legacy.
Land Art
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This volume, by and about the sculptor and pioneer land artist Richard Long, explores his work from the 1990s to the present day. Long's ability to make works of physical and intellectual beauty is unrivalled, and this new journey takes the reader around the world: to the Sahara Desert, the Rio Grande, Ireland, Spain, Tierra del Fuego, Mongolia and to the forests of(...)
janvier 2002, London
Richard Long : walking the line
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This volume, by and about the sculptor and pioneer land artist Richard Long, explores his work from the 1990s to the present day. Long's ability to make works of physical and intellectual beauty is unrivalled, and this new journey takes the reader around the world: to the Sahara Desert, the Rio Grande, Ireland, Spain, Tierra del Fuego, Mongolia and to the forests of Honshu in Japan. If walking has become Long's trademark, the path is a central image or archetype in his work. With his walks, Richard Long weaves a line through many traditions. Majestic museum pieces made from tons of rock are juxtaposed with dramatic mud works and with photographs recording ephemeral sculptures often made in remote landscapes. Most of the photographs were taken by the artist himself. The book includes Richard Long's own notes and writings, lists of solo and group exhibitions, prizes and awards, and a selected bibliography.